How the children and the looters had survived these past few months, she never managed to discover.
The wind swept tattered pieces of soundproofing and insulation past her and down the street. She looked at the other houses surrounding hers, which seemed as cracked and chipped and crumbling as her own. At one point, a small bird fell from the sky to land just feet away from her, knocked unconscious, she assumed, only then to be jawed by an emaciated cat, which must have screeched and hissed the bird out of the sky. She had hoped getting out of the house would have done her some good, calmed her down, made her feel somehow less guilty, but being a witness to all of this had only exhausted and saddened her. She was glad her husband couldn’t have come with her.
She had decided to turn around and walk home then, to go back to him, to tend to him as best she could, when something struck her in the small of her back. She turned around, startled, expecting to see someone with a bullhorn or some other voice amplifier, something strong that could punch through her suit. Instead she saw a huddle of boys with rocks and sticks, made timid by the unfamiliar speed of thrown objects. They stood silent at her. Then, one of the boys lifted his hand and threw, his rock glancing her shoulder, then another boy, and then the rush of them, like a dam bursting open, each of them picking up new stones or collecting those already thrown, flooding over her, each with his mouth closed.
The Artist’s Voice
I.
I first met Karl Abbasonov after he had been transferred from the small paralytic ward of a privately owned Episcopal hospital, St. Ann’s, located in upstate New York, to an assisted living apartment back in Texas, the state where he was born, and where he is cared for by a rotating staff of three nurses and occasionally transferred to a sanatorium whenever his health takes a drastic turn for the worse.
His first words to me, after I introduced myself, were, “You are an ill-used clarinet.”
Abbasonov’s voice is rich, deeply timbralled, and surprisingly strong. Abbasonov speaks slowly and often tends to overenunciate, and the letters of each word round out smoothly, as if themselves part of a song or a melody. He does not look at you when he speaks because the muscles in his neck (the semispinalis capitis, the semispinalis cervicis, the multifidi, and the rotatores) cannot move and because his ciliary muscles (those muscles of the eye whose contraction changes the shape of the lens to accommodate objects of varying distances away) also cannot move, and so he does not know what anyone looks like, hasn’t known in almost twenty years, and his best judge of people, how he remembers who is speaking to him or who is in the room with him without ever seeing the person’s face, is through the sound of the person’s voice, and when he or she does not speak, then by the tone of the person’s breath. Abbasonov claims to hear every sound as a note, and cannot abide large crowds of people (the kind one might find in restaurants, at bus stations, cocktail parties, or rock concerts), the din of their speech a cacophony of flats, sharps, discords, and sad melodies of songs he does not wish to remember.
The muscles in his body, all of them, are by now so tightly contracted that his heart beats and his lungs breathe with the aid of a small metallic box, Abbasonov’s Gray Box, created for him by Nicholas Tremmont. Tremmont refuses to take full credit for the design and construction of Abbasonov’s Gray Box. “The original idea was his,” said Tremmont, when I spoke to him at his office, “and he’s the one who approached me about its design, maybe fifteen years ago. He’d sketched out something very minor and vague on the back of a cocktail napkin, and the lines were shaky because, I found out later, he’d just started working on the piece that he’s been working on for twenty, twenty-five years now. I took an interest in the idea of a small box that could not just monitor the heart, lungs, stomach, kidneys, what have you, but also make them function simultaneously, like they do when controlled by the human nervous system. It took over ten years to finish even a prototype, and it’s lucky for him, too, I guess, that I even got that out, and that when we plugged him into it, the whole damn thing started working right, though there were a couple of bugs right at first.”
Like what? I asked him.
“Well, for one thing, we didn’t think of installing a surge protector, and that first night an electrical storm blew in from the southwest, which, though nothing happened, gave us both a big scare. What really scared us, or me, since I never told him exactly what almost happened, is that I’d miswired the heart mechanism at first, and only realized my mistake just before plugging him in; if I hadn’t, I’d have had his heart drawing in blood — all the blood all at once, all of it to his heart — which, most likely, would have caused his heart to burst from the pressure.” The box, still just an early prototype, manages to control all internal muscular functions — the pumping of blood, the circulation of oxygen, the excretion of waste — but is not sophisticated enough to de-contract or relax the musculoskeletal system whose near-permanent contraction relegates Abbasonov to a wheelchair. With this knowledge, it is surprising that Abbasonov is still alive, but even more surprising that he is able to speak, a fact which has, until just recently, confounded every doctor in America and Europe who has treated or tried to treat his affliction.
II.
Isailo Abbasonov moved to Ben Ficklin, Texas, in 1938.
In the late fall of 1936, he and his wife, Fabia, left their home in Albania on a steamer bound for New York City. They spent two years in New York, where Isailo, a skilled accountant, worked as a line cook in a Russian kitchen, and Fabia worked as a housekeeper, washing clothes and dusting bric-a-brac. Then the two moved to the small town of Ben Ficklin, where Isailo’s uncle, Milorad, lived and made decent money constructing crude machinery that was then shipped to Mexico and used to sew rough-hewn blankets and trousers for the campesinos to wear while working in the fields picking cotton.
Less than six weeks after their arrival, Milorad died, bitten by a rattlesnake while demonstrating to Isailo how the thick material of the machine-produced trousers protected workers from burs, thorns, scorpion stings, and snakebites.
Isailo, who knew nothing about metalwork or simple construction, who had in fact been called down to Texas to help his uncle with the accounting side of his growing business, suddenly found himself in charge of an operation that consisted of a house-sized garage littered with greased machinery — cogs, springs, belts, the like — and a small staff of four. His uncle, afraid that his workers, after learning the design of his machine, would steal the design and leave his workshop to start their own businesses, taught each man how to build only one-fourth of the entire apparatus, the four separate parts then pieced together by Milorad himself, in secret. No one, it turned out, knew exactly how to connect the four parts into one whole. After six weeks, the machine parts still not fitted together, Isailo was forced to fire the four men who had worked for his uncle and close the machine shop.
By this time, Fabia was pregnant. “It was a tough time for my parents, then,” Abbasonov told me. “My dad found another job as a line cook, and my mom had gone back to work cleaning houses, and she did that until about the time I was born, and then went back to it less than a month after, and since they couldn’t afford to pay anyone to take care of me, she took me with her. The thing was, my father could have worked as an accountant, but nobody would hire him in the States, at least not in Texas, until they had some proof, some certification that he wouldn’t run off with their money. He was from Albania, and no one in Texas had heard of Albania, knew what Albania was. Most of them thought, because of his color, because of his features, that he was some mixture of Mexican and black, although nobody thought it strange that he didn’t know how to speak Spanish. But that’s how he found work as a cook, because everyone thought he was mestizo. He was working the morning shift cooking breakfast for field hands, county deputies, and farmers.” A small amount of luck befell Isailo when the restaurant owner’s husband, who managed the restaurant’s finances, was bedridden by a stroke that incapacitated the left side of his body. In order to care for her husband, the owner considered closing the restaurant, but Isailo, unwilling to look for yet another job, offered to work extra hours managing the office for free if she could find someone to run the kitchen and the restaurant floor.